Glenunga Dispatch Issue #10 Deleted Edition

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Issue #10

The Glenunga Dispatch

26/05/21

WON LAA CELA

26 May,-2021
2 a

04 Film & Media
Insight on the Johnny
Depp Trial

By Alfonso Lafosse

06 Opinion

In Complete Intolerance
of Margaret Court

By Charlie Stamatogiannis
09 Op-Ed

Vale Olympia Dukakis
By Luke Reichstein

10 Politics

Welfare Doesn't Make
People Lazy

By Alex Brown

Page 2

(2 Technology
A Call for Free Software
By Anton Ivanov

[4 Film & Media
Mainstream Cinema Has
Something to Learn from
Television When It Comes
To LGBT+ Representation
By Akshara Radhakrishnan
18 Film & Media

Marvel's Blockbuster
serum

By Chetan Changalasetty

19 Film & Media
Minari - A Family's
Assimilation

By Zac Briffa

21 Politics
A Fiery Sky Over Israel
By Amin Slee

22 Film & Media

A Miracle Drug Trial Gone
Wrong?

By Max Lock

24. Politics

Threat Level COVID
By Vidhi Vira

25 Poetry

Issue #10

The Glenunga Dispatch

26/05/21

Editor-in-Chief’s Note

Dear Staff, Students, and Community Members,
We're back!

The Glenunga Dispatch has commenced its publishing season. It has been a long time coming, so we
thank you for your patience and support... ’m going to stop right there actually. I’m not going to lie to
you, I know very well that in high school all of us are very busy and very much appreciate how reading
the school newspaper is not one of our priorities. | am not oblivious to this fact. What I will say however
is that, does this mean journalism should stop? Does this mean that as individuals who are committed
to speaking our minds and writing our hearts out, we should stop because we have no one to read what

we say? [he answer is simply no.

If journalists didn't report, the principle of free speech and holding government and power accountable
would not exist. If journalists didn't report, anybody who missed the baseball game wouldn't know the
score. Information is crucial to our society because information gives people - ordinary people - the

power to do great things and know great things. It leads to inspiration, learning and experience.

What we do here at the Dispatch is write about what should be known, and of course we can't cover
everything, that is why we want you to join us. We are starting a new initiative called the People’s
Section, where we ask the school community what they think we should write about and report, and one
or more of our amazing writing enthusiasts will take on the job! Glenunga is an international minded
school with amazing opportunities, the Dispatch is just one of them, and we want you to be a part of
what we do! This year, we have more writers, more editors and more focus on our goal of amplifying
student voice and letting students customize their say. It is a mission that is always hard to accomplish

but we are more excited than ever to try.

As I write this first editorial back, I know that many people will not be reading this. But on the off
chance that you are, I hope that you enjoy reading the rest of our tribune and that it inspires you to read

further about something, learn something, or even want to get involved.
As always, thank you and I hope that you will put your belief in the power of the press!

Sincerely Yours,
Amir H. Alikhani
Editor-in-Chief

PS

For anyone who remembers my last editorial, I took a leave of absence from the paper which at the time
I thought was permanent, however a series of events has led to my return and personally cannot wait to
publish all of the amazing articles, photographs, illustrations and contributions that the Dispatch team
has to offer. It’s good to be back; stay tuned.

Page 3

Issue #10

The Glenunga Dispatch

26/05/21

In May 2016, Amber Heard, a 30-year-
old entertainer, showed up at a Los
Angeles court looking for a restraining
her husband, the
Hollywood star Johnny Depp. As she left

order against
the building, she ended up encompassed
by photographers, journalists and film
crews. On her cheek was what gave
off an impression of being a mark. The
court was likewise demonstrated photos

of what resembled facial bruising.

She guaranteed Depp had “violently”
assaulted her and in a wrath had
tossed a cell phone at her face with
“extreme force”. There were additionally
charges of different occurrences of
abusive behaviour at home. She said
she had persevered through “excessive
emotional, verbal and physical abuse”
and “angry, hostile, humiliating and
threatening assaults”. Depp denied the
maltreatment. The restraining order was
granted and since, the marriage has been

over.

After four years the couple were back
in court, however this time in London.
Yet, this was not Amber Heard’s case
- she had not decided to be here. ‘This
was a libel action Depp had brought
against a British paper, Ihe Sun. At the

core of the case was his attestation that

Insight on
the Johnny
Depp Irial

By Alfonso Lafosse

Page 4

the claims of actual maltreatment were
an “elaborate hoax”. Depp utilised a
standout amongst other known lawyers
in the nation to attempt to demonstrate

the cases were false.

The Royal Courts of Justice are gigantic,
gothic and profoundly grave. It’s a
position of stone curves and quieted
tones. Furthermore, in July it was
practically empty. I state practically,
because on the grounds that there were a
couple of individuals - a small bunch of
journalists rushing through security, and
furthermore waiting in the foyers and
entries, a dispersing of Depp fans. At
around 10:00 every day his fans would
assemble at the entryway to Court 13.
As Depp strolled past they would offer
messages of help and, towards the finish
of the case, he was seen giving them
each, the heartfelt embrace of a hug.
A little serenade of

by

“Johnny, Johnny’

could be claimed to
be heard as he strolled

into court.

It was
but difficult to fail
this

anything

to remember
was a defamation

fight among Depp

and News Group Newspapers, the
distributors of The Sun, in light of the fact
that nobody from the paper was called
to the witness stand. Dan Wootton, the
columnist whose article had said there
was “overwhelming evidence” that the
star was a “wife beater” was not even on
the rundown of 79 names referred to in

the preliminary’s reports.

The case started with an email trade
about the dangers of addiction among
Depp and Sir Elton John and afterward
proceeded with references to a baffling
cast of characters. James Franco, Marilyn
Manson, Elon Musk, Winona Ryder,
Kate Moss and Vanessa Paradis were all
visitor stars in a story that took a private
universe of the Hollywood A-rundown
and blew it apart.

Issue #10 The Glenunga Dispatch

26/05/21

Amber Heard was 22 when she met Johnny Depp on the
set of the film The Rum Diary in 2009. He was in a long-
term relationship with vocalist and actress Vanessa Paradis.
Heard’s wife at the time was the artist Tasya Van Ree. After
two years, Heard was living with Depp in a penthouse in
midtown LA, Depp having split from Paradis, his wife of
14 years. Heard and Depp wedded in February 2015, and a
little more than a year later it was finished. From that point
forward, Amber Heard has become a vocal campaigner on
the issue of domestic and sexual abuse. The UN Human
Rights Campaign named her asa Human Rights Champion
for her work advancing women’s rights. She turned into an Ambassador for Women’s Rights for
the American Civil Liberties Union (ACLU) and she has given talks
and written in the Washington Post and New York ‘Times about her

experience of abusive behavior at home.

Later on it was announced that Amber Heard admitted to have
attacked and abused Johnny Depp several times. Often pelting him tih
pots, vases and pans as it was revealed in an audio confession. Amber
Heard, an Ambassador for Women’s Rights and a domestic abuse
advocate said the following the morning after she had attacked Depp,
attempting to downplay her outburst.

‘T’m sorry that I didn't, uh, uh, hit you across the face in a proper slap, but

I was hitting you, it was not punching you. Babe, youre not punched.”

“I don't know what the motion of my actual hand was,
but youre fine, I did not hurt you, I did not punch you,
I was hitting you.”

‘I can't promise you I won't get physical again. God I

f™king sometimes get so mad I lose it.’

‘You poke an animal enough, it is eventually, it doesn't

matter how friendly it is, it’s not cool.’

The whole cycle, which included a practically ruthless
public assessment of a couple's private life, erected from
an unmistakably a profoundly grieved relationship,
however the case relied upon demonstrating who
had done what to whom. Furthermore, eventually,
the adjudicator concluded to depict Depp as a “wife
beater”.Causing Depp to be removed from the cast
of the new “Fantastic Beasts & Where to Find Them”
movie, which then caused disturbance among many
fans of the star. Due to this many Depp fans are asking

to remove Amber Heard from the cast of “Aquaman.”

Page 5

Issue #10

The Glenunga Dispatch

26/05/21

in Complete

intolerance of
Margaret Court

] n my experience, one of the most absurd
yet frequent comments made in political
discussions when it comes to matters of left
versus right is ‘so much for the tolerant
left’. This is nonsensical for a few reasons;
for one, I have never heard anyone on the
left describe their position as ‘tolerant’. In
fact, I like to think we make it abundantly
clear that we want absolutely nothing to do
with bigotry of any kind (and if you don't
believe me, I suggest you go speak to the
mythical Supreme Leader of Antifa). The
second reason is less petty and actually
serves as to construct an argument rather
than just take cheap shots at conservatives.
If youre at all familiar with Karl Popper's
Paradox of Tolerance, you'll know where

this is going...

Page 6

By Charlie Stamatogiannis

Before I continue, Id like to quickly
clarify that I do not believe that support
for Margaret Court, whether that be as
an athlete or a controversial pastor, is
synonymous with being on the right. That
said, I say with confidence that most people
defending her right to be promoted to a
Companion of the
Order
likely

way.

of Australia
lean that

The

of ‘Tolerance

Paradox

states
that in order to
maintain a_ tolerant
society, we must not
tolerate intolerance.
This pretty

simple, to me at least-

sounds

stamp out the bigots

(including Ms Court) and hurrah, we have
achieved tolerance! But then the issue
arises of how we determine what should
and shouldn't be tolerated, and we have
ourselves a divided public opinion. Do we

choose to tolerate religious freedoms or

LGBT+ identities? From my perspective,

Issue #10

The Glenunga Dispatch

26/05/21

we shouldnt even have to debate this,
as it’s obvious that Court disseminates
homophobia and transphobia under the
guise of exercising her religious freedoms.
Based on this, we can determine that both
religious freedoms and LGBT+ identities
should be tolerated, but only so long as
neither infringe upon the other. Some
more progressive folks who hold religious
views would even argue that Court wrongly
weaponizes and misinterprets the Bible,
and that her intolerance isn’t inherently
linked to her religious identity, but instead
allows her to confirm her bias on perceived
(although unfounded) moral principle.
I cant say I really have an opinion on
this take, but I think it’s definitely worth
questioning whether we should really view
this as a conflict between ideas, or more

accurately identities, worth tolerating.

Aside from Australian society potentially
devolving further into intolerance, | don't
quite understand honouring, let alone
promoting Court to such an esteemed order,
on the basis of her athletic achievements.
Whether you side with her comments or
not, I think we can all agree it’s pretty poor
of a public figure to direct hateful rhetoric
towards other competitors in your field. In
1990, Court made criticisms of tennis great
Martina Navratilova, stating that although
she is a ‘great player’, Court would prefer
‘someone at the top who young players

can look up to. She then confirmed

her
by saying

very sad for children

homophobic _ bias

Ge)

that ‘it’s

to be exposed to
homosexuality’. To me,
this screams “bad sport’,
and even if we were
concerned with athletic
merit alone, surely this is
a rather compromising

memory of Court.

And now, allow me to pre-
emptively defend against what
I predict will be the most
popular argument in favour
of Court among high school
students; (insert un-nuanced
take on cancel culture and
how it supposedly destroys
everything good). PIl save my
critique of the ‘cancel cancel
culture’ attitude for another
time, for now I'll direct your
attention to Court in 2017, writing a
letter to The West Australian calling for a
boycott of Qantas after the airline publicly
supported marriage equality. In other
words, Court participated in cancel culture
according to its most basic definition, so
why on Earth should she be exempt from
it?

and thus

Quite

disproving the varying ways in which

frankly, examining
Court’s comments could be put aside in
order to celebrate her sporting achievements
feels wrong. Even if am making a point to
decry her, playing devil’s advocate even for a
second is so pointless when her words have
inflicted so much damage on a community
I love so dearly. If this weren't written for
a school-based publication, I assure you I
would have abandoned all eloquence and
simply said in words far-from-graceful and
profanities unfavourable to the ears, that
Court is an abhorrent human (although
I’m sure this format does far more for my

argument).

Honouring Court once was questionable
enough, honouring her a second time is
quite honestly disgusting. Not only does it
condone her deplorable comments, but it
also sends a message of ‘this is the best we've
got’ in terms of Australians, and indicates
a degree of complacency that people of
different marginalised groups simply do not

have the privilege to so ignorantly possess.

In protest against Court’s promotion, Clara

Tuck Meng Soo, a transgender medical
practitioner awarded the Medal of the
Order of Australia in 2016, gave notice to
the office of the Governor-General that she
would be returning her medal. Similarly,
journalist Kerry O’Brien, who was due to
receive an honour on January 26th 2021,
refused to accept his award due to the
‘deeply insensitive and divisive decision’ to
honour Court a second time. Celebrating
Court is an insult to the Australian
LGBT+ community, especially those of
which have been honoured alongside her
by the Council for the Order of Australia.
Intolerance is a slippery slope, and with
Trump's presidency having already majorly
shifted the overton window, we can't afford
to devolve even further. I say we start the
year right by trying to correct this mistake;

let’s not tolerate Margaret Court.

Page 7

Issue #10 The Glenunga Dispatch 26/05/21
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Issue #10

The Glenunga Dispatch

26/05/21

Vale Olympia Dukakis

An icon of stage, film and television,
Olympia Dukakis was born in Lowell,
Massachusetts on June 20, 1931. She spent
her early years devoted to the theatre,
quickly being noticed by critics and in
1963 she was awarded an Obie Award
for Distinguished Performance as Widow
Leocadia Begbick in Brecht’s Man Equals
Man. From there Hollywood called with
roles in Look Who’ Talking, Mr. Holland's
Opus and Steel Magnolias, in which she was
Clairee Boucher, digging for gossip with
the one-liner: “If you don't have anything
nice to say about anybody, come and sit by
me!” In 1987 Dukakis reached the peak
of her fame, starring alongside Cher, in
her Academy Award and Golden Globe
winning performance as no-nonsense

matriarch, Rose Castorini, in Moonstruck.

But it was in 1993 that Dukakis risked her
entire career in her role as Anna Madrigal
in Tales of the City. Armistead Maupin’s
novel was adapted for television with
Dukakis as Anna, the marijuana-growing

matriarch and owner of the apartment

Words by Luke Reichstein

building at 28 Barbary Lane. Born a man
and transitioned, the name Anna Madrigal
is an anagram for A Man and a Girl.
Dukakis brought warmth and wittiness
to Anna Madrigal that made her one of
the most beloved characters in the cast,
reflecting the way Maupin depicted her
in his book. She played Anna Madrigal in

the follow-up series that aired in 1998 and
2001.

Her final adventure as Anna Madrigal
occurred in 2019 in the Netflix-produced
update of Tales of the City that brought
closure to the storyline. Her casting in this

final chapter brought some controversy, as a

cisgender actress playing a trans character
was not in keeping with the demands of
the queer community. At the time executive

Alan Poul rebuffed

suggestions noting “the very bold decision

producer these

made by Olympia to play a trans character
in the 1990s” and that “she has clearly
earned the right to finish out the role.”

As one of the first actresses to play a trans
Dukakis

visibility and humanity to a community

character, Olympia brought

that had been neglected for far too long.
She passed on May 1, 2021 aged 89.

Page 9

Welfare doesn’t make
people lazy: Debunking
the ‘Dole Bludger’

By Alex Brown

Page 10

Issue #10

The Glenunga Dispatch

26/05/21

The Evidence

A group of MIT and Harvard researchers
conducted a Meta Study of 7 cash transfer
programs in 6 developing countries, and
found that these programs had no effect
on work participation. In fact, this study
also references another study, which found
a particular grant program in Uganda in-
creased work hours by 61%. However, these
programs were directed towards some of
the poorest people in the world, and they
are not necessarily comparable to an Aus-
tralian welfare program. A more accurate
example would be the Alaskan Permanent
Fund: a basic income program that gives
money to all Alaskan residents uncondi-
tionally, paid for by taxes on the oil indus-
try. Ihe only change in work behaviour was
a slight increase in the share of part-time
work, however, there was no decrease in the
share of people employed. Another study
on Medicaid in the United States found
that it had a statistically insignificant ef-
fect on labour participation. Overwhelm-
ingly the evidence from studies conducted
by economists is that the stereotype that
welfare recipients are lazy and refuse to do
work is, without a shadow of a doubt, com-

pletely false.

Personal Failure or Systemic Issue?

According to a study by the World Eco-
nomic Forum, the more people attribute
poverty to personal failure, the less gener-
ous that the welfare systems of countries
will be. In Australia, being poor is a larger
indicator of experiencing discrimination as
opposed to race, sex, sexuality and other,
similar factors Many Australians think of
poverty as a personal failure. A sentiment
that is as inaccurate as it is harmful. There
are many different reasons for people being
poor in Australia, a common one being a
lack of opportunity due to being born into
a financially disadvantaged family. Aus-
tralia is one of the least socially mobile
countries in the developed world, meaning
that if you are born in a poor family, you
are very likely to stay poor your entire life.
More often than not, people in poverty are

in poverty by no fault of their own, but even

if they were, would this justify Australia’s
attitudes towards poverty? For the sake of
the argument, let’s say all poor people are
poor because they made bad decisions.
Should they be left to suffer in poverty be-
cause they made a mistake? What led them
to making that mistake? How can we stop
people from making that same mistake?
Blaming poverty on the impoverished
achieves nothing. It ignores the suffering
of struggling Australians. Poverty can be
eradicated, the first step is acknowledging

that poor people aren't to blame.

The Choice Between Work and Welfare

Looking at the quantifiable effects of wel-
fare on employment does disguise the per-
sonal effects of welfare. The only two factors
that affect the decision between welfare
and work is how accessible each is. In plac-
es with low wages, high structural unem-
ployment and systemic discrimination it
is much harder to choose work. Similarly,
in places with poor and restrictive welfare
programs and social stigma around welfare
recipients, it is much harder to choose wel-
fare. But what is so wrong with choosing
welfare? Is dropping out of the workforce
always a bad thing? Is productivity the sole
value of humans? Is being able to afford the
essential items in order to live while unem-
ployed bad? Being able to stay unemployed
longer allows workers to find jobs more
suitable for them. This diminishes Monop-
sony power, the ability of employers to co-
erce workers into worse contracts because
of high competition for work. Furthermore,
working less can be socially advantageous.
Retirement is a way people drop out of the
workforce and it is seen as positive. Work-
ing less because welfare is covering some of
the bills isn't laziness. In some cases, prior
to welfare, there are people who work ridic-
ulous hours every week to make ends meet.
Is it bad to go from 60 hours a week wait-
ing tables to 40? What about going back
to school, is working less in order to study,

lazy?

Is Laziness a Symptom of Welfare?

Welfare ultimately only reduces work when
it is higher than wages. But why is this an
issue with welfare? Why should welfare
be eradicated because multi-billion dollar
companies like to pay their employees as
little as possible? Isn't a principle of capi-
talism that businesses must pay their em-
ployees enough that they’re willing to work
there. Companies are failing to pay their

workers enough to live on, so maybe it’s

them who should be under scrutiny instead.

But what about the Children?

‘The benefits of welfare extend past helping
the working class pay the bills. ‘The social
benefit of eradicating poverty is tremen-
dous. 774,000 children in Australia are liv-
ing below the poverty line, to call these peo-
ple poor because of their own faults and not
because of factors far outside their control
would be unambiguously false. Childhood
poverty is linked to poorer performance in
schools, poorer socioeconomic outcomes,
and higher rates of criminality and men-
tal illness. Ihe argument that welfare is bad
because it encourages people to be lazy is
such a shallow argument. It ignores the re-
ality of poverty and spitefully decides that
the wellbeing of 774,000 children is less

important than punishing ‘free loaders’.

Ultimately this argument unravels to a
simple question- do you want to help those
who are disadvantaged and create a social
safety net, or are you stubbornly opposed,
and instead believe in a mythical group of

‘lazy’ welfare recipients?

Page 11

Issue #10

The Glenunga Dispatch

26/05/21

very person in this world who has
E used a computer has been using
non-free software, software designed to
take away the freedoms of its users. Have
you used Microsoft Word, Microsoft Ex-
cel? Have you used Google Search? What
about Microsoft Windows, Apple’s macOS,
a commercial antivirus, Adobe Photoshop,
Google Chrome, drivers for NVIDIA
graphics cards, a computer with a closed-
source BIOS/UEFI (literally every com-
puter), a computer with an Intel processor?
These are only a few examples of non-free
software. Have you used any of the above

software? Most certainly you have.

Let’s step back a bit. What constitutes free
or non-free software? In this article I will
not be referring to ‘free’ as in money, like
‘free food’, but free as in freedom, like ‘free

speech’.

You would have, most certainly, have heard
about how different programs, devices, and
online services track you, collect personal
data, and in other ways limit or flout your
freedoms. These are all examples of non-
free software. Such software may hide itself
behind a paywall, send diagnostic data to

its creators (and often third parties), stop

+7

i

working at specified points in time, require
you to make an account, require your personal
information (name, email address, phone
number, credit card details, etc.), or other
things along those lines. Such software
might impose restrictions on your use of it
and may restrict you from removing certain
features, modifying it, etc. Windows, for
example, doesn't let you uninstall Internet

Explorer.

In contrast, free software is software that
allows you to modify it, disable and enable
what you wish, and use it as you want to,
without taking away any of your freedoms,
such as your privacy or your right to do
whatever you want with the software. Great
examples are the GNU/Linux operating
system, GNOME Maps, and LibreOffice.

In my experience, free and open-source
software works much better than non-free
software. [his is because free software has
no monster-sized blocks of code designed
to track you and/or make sure that you have
paid for the said software. And the nature
of open-source software is such that the
source code of the program is available for
anyone to examine and point out problems

and bugs, which are then usually fixed by

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the software developers. This is why I find
free and open-source software superior to
the proprietary counterparts, which are

usually slow and buggy.

The GNU project, backed by the Free Soft-
ware Foundation, was started in response
to the fact that closed-source proprietary
non-free software was prevalent (and still
is) in the world. This started off with the
creation of the GNU operating system
(an operating system is the system that
runs your computer and what all of your
apps run on), which was incomplete until
it was combined with the Linux kernel (a
kernel is the core of an operating system).
This resulted with GNU/Linux, a free and
open-source operating system that is gain-
ing more and more popularity among the
tech community. It is widely used in servers
(all those computers which make the Web
work run on Linux) due to the fact that it
has much less bugs and works much bet-
ter than, let’s say, Windows Server. 90% of
cloud infrastructure in the world, including
supercomputers, runs on Linux. And be-
cause it is free for anyone to use, modify,
and redistribute, most smartphones, routers,
and servers run on Linux or forks of Linux.

Such is the power of free software.

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You may be wondering how you can avoid

non-free software and switch to the better, :
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free software alternatives. Here are a few

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alternatives that I recommend:

I find LibreOffice to be a great replacement for Microsoft Office. Typing
on LibreOffice Writer is much faster than on Microsoft Word. Also,

LibreOffice Writer is compatible with Word documents, even if it does

DuckDuckGo is a free search engine, which you can use as a
replacement for Google Search. It still provides good search
results, and has many of Google Search’s features (such as word
definitions). Although it comes with advertisements enabled sometimes mess up the formatting slightly. LibreOffice Calc is a great
by default, you can disable these in DuckDuckGo’s settings. alternative to Microsoft Excel. Just like Writer, it is compatible with
Also, unlike Google Search, it comes with a dark theme which Excel spreadsheets. A unique thing about LibreOffice is LibreOffice
you can also toggle at any time (which can help your eyes). Draw. Essentially you can add text boxes, shapes, symbols, and arrange
them however you like. You could create drawings, fancy documents,

sketches, and more. I highly recommend giving LibreOffice a try, even
' Fed Up With Companies
Selling Your Data?

if you don't want to switch.

|} LibreOffice’ ea) =)

[crooked-photo] (imported)-81.0 (RGB color 8-bit gamma integer, GIMP built-in sRGB, 1 layer) 1703x1136 - GIMP
pr Colors Tools Filters Windows Help

DuckDuckGo

GIMP is a brilliant alternative to Adobe Photoshop. Both
are hard to master, but come with a wide range of different
tools which allow you to edit images however you want
to. Unlike it’s Adobe counterpart, GIMP is free, and is
actually created by the GNU project (GIMP stands for
GNU Image Manipulation Program). If you are tired of
the unusability of Microsoft Paint this might also be an

option if you're willing to learn a lot about using GIMP.

If you want to remove the proprietary
blobs of Windows or macOS, you might
want to give Linux a shot. Linux is a great
operating system. Although it doesn’t come
as one complete operating system (I wish it
was), it comes in a variety of distributions.
These distributions contain the operating
system and all the software that you would
need to manage your system. Different
distributions are suited for different needs.
For most people who simply want a working
system, Ubuntu is a great replacement
for Windows or macOS, especially with
a few tweaks. Personally I use Ubuntu,
with a few of my own customisations, as
one of my systems (because it has a lot
of software compatibility). his is what
I would recommend for most people. If

you think you are a Linux master, though,

I would recommend a system which truly
respects your freedoms and runs much
more smoothly, like Alpine Linux. For
beginners, setting up Alpine would be an
overkill though, as you would need to setup
everything from the graphical interface to

audio to automated disk management.

If you are really willing to stretch yourself
in the technologies field, trying Ubuntu
might be worth it. It isn't for everyone
though, as it is rather difficult for someone
who has no idea on the underlying concepts
of how operating systems work to setup

and manage Ubuntu.

It is really important that people take back
computing in their hands. As companies
strive to generate as much revenue as
possible by selling consumers’ data to third
parties, keeping software closed-source, and
mass-producing software without checking
for code quality, it is only up to the user’s to

choose between free and non-free software.

Page 13

Issue #10

The Glenunga Dispatch

26/05/21

epresentation in media, especially in

TV and film, has come a long way
in recent years, with more and more films
with LGBT+ storylines coming out, and
more LGBT characters are appearing in
TV shows and movies alike. However, it’s
no secret that the mainstream iterations of
both mediums still have a long way to go
in terms of proper, accurate and uplifting

representation.

But where big feature films fall short,
network and streaming platform TV
shows manage to get much more right
with their representation and inclusion
of LGBT+ characters- a claim supported
by many within the LGBT+ community
who strongly feel that they are often better

represented in shows than in films.

So what makes TV better at LGBT+
For

starters, we need to consider what “good

representation and __ inclusivity?
representation” is. While this is definitely
not a simple question, at its core, good

LGBT+

that are identifiable as a member of the

representation is characters
LGBT+ community, yet are not defined
by their sexual orientation or gender
identity. LGBT+ characters should also
be significant to the plot, so they do not
exist only to add diversity, or for comedic
purposes. LGBT+ characters should matter
and have depth to them.

Page 14

Mainstream Cinema
Has Something to

Learn from Television
When it Comes to

LGBT+ Representation

By Akshara Radhakrishnan

Where Hollywood films fail at this,

mainstream television has shone in
its ability to produce shows which are
celebrated for their LGBT+ representation.
LGBT+ characters in big feature films are
not given the time to be explored and grow,
as they are on television, and are often
relied on as comic relief, and used for what
is called “token representation’ — where
LGBT+ characters are represented in easy
to miss lines or scenes, but are still used to
market the film. An example was the much
hyped “exclusively gay moment” in Disney’s
remake of Beauty and the Beast, which
ended up being a blink-and-you'll-miss-it
shot where two men danced together in

the final scene of the movie. The problem

with this being increasingly prevalent in
mainstream film is that audiences miss
out on seeing significant, well-rounded
characters representing a group of people
who have already been so underrepresented

and mistreated in mainstream media.

This is where TV comes in; mainstream
TV shows give members of the LGBT+
community the opportunity to see their
lives reflected in popular media, without
losing wider their appeal. This comes with
the fact that I'V shows do a better job of
representing different aspects of the life of
LGBT+ people with depth and realism,
something a feature film isn't able to do with

their brief moments of “representation”. The

small, barely significant LGBT+ characters
in mainstream film can often lack greater
significance because they dont display
the journey these characters go through
in discovering their identity, or even
navigating everyday life for that matter T'V
shows are ideal for providing insight into
this, allowing audiences to appreciate, and
most importantly, understand and relate
to the highs and lows which come with
belonging to the LGBT+ community.
Shows like Brooklyn Nine-Nine feature not
only one, but two lead LGBT+ characters,
who audiences see grow and struggle in
their positions and relationships. We not
only get to see detective Rosa Diaz come
out to her friends as bisexual, but also her
struggles afterwards as her parents don't
accept her sexual identity. In shows such
as Bojack Horseman, we get to see the
character Todd go through internal conflict
as he tries to figure out and come to terms
with his own asexuality, even before he is
able to come out to his friends. Seeing the
journey characters go through before they
are accepted by themselves and others is
what makes LGBT+ representation in TV
so much more impactful, as members of the
LGBT+ community see more of their own

lives reflected in storylines.

As well as this, LGBT+ characters in TV
shows, despite not being the main character,
feel equally reaspected and appreciated,
because they exist not only for their

representation of the LGBI+ community,

ab eas

”

but are also engaging characters in their
own right. Characters like Sophie Bursett
from Orange is the New Black portray the
life of a transgender woman while still
being creating an amazingly engaging
and dimensional character, and shows
such as Netflix’s Sex Education have been
praised for being able to portray multiple
characters who each go through individual,
distinctly different, well thought out
journeys of understanding and discovering
their identities. Characters in the show are

each given sufficient screen-time required

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to not only develop the LGBT+ side of
their characters’ identities, but also their
own strong personalities separate struggles
and relationships with other characters,
both platonic and romantic, all whilst not
allowing any of them to fall into a one-size-
fits-all character trope that has plagued
queer film and T'V in the past and present.
This well roundedness and attention to
other aspects of their characters makes
anything they go through relating to their
sexual orientation or gender identity much

more real. Now, in comparing this to the

Issue #10

The Glenunga Dispatch

26/05/21

LGBT+ characters in many well-known

films, it is extremely evident that they feel
less significant and unrelatable because
their only real identity is their sexual
orientation, or, because we know nothing
about their journey as an LGBT+ character,
so it can be harder to identify with them.

A key film which comes to mind when
discussing this unfortunately prevalent issue,
is Love, Simon, in which the protagonist
is a teenaged boy named Simon whose
story navigating coming out as gay in high
school is portrayed in the film. After being
marketed as “possibly the most radically
queer film of all time”, the film manages to
alienate the only uncloseted gay character
other than Simon, a person of colour named
Ethan, and reduces his possibly more
nuanced and complex depiction of being a

gay male who is proudly out, to him simply

Page 16

being too effeminate and flamboyant,
therefore also subscribing to the outdated
dismissal of such staples of gay culture as
‘too gay’. This therefore means the film
ends up using his experiences with bullying
and generally not being accepted as a joke,
as, to quote Simon, he is “making it too easy
for them [the bullies]” by being himself.
This ultimately results in Simon, a middle-
class, white, and conventionally masculine
character being used to essentially disavow
this depiction of being gay to serve the
idea of homonormativity, minimising and
‘whitewashing’ the complex realities of
queer people by presenting the experiences

of Simon as those of all gay or queer people.

Television as a platform has proven its
versatility, as increasingly more shows
broadly represent the varied lives of

LGBT+ characters authentically, as they

are created just like any other character,
with personalities and struggles relating to
and outside of their LGBT+ identity. This
sort of positive representation of LGBT+
people is so incredibly important, as people
who may not have much contact with
members of the community in real life,
will take what they see on T'V and in films
as factual. ‘This creates the opportunity
for film and TV to help remove some of
the unfamiliarity and uncertainty people
may have, and as positive representation
leads to greater acceptance in real life, it is
imperative that film catches up to TV in
terms of striving for this, and that they both
continue in the right direction towards
accepting, supporting and celebrating the
LGBT+ community.

Issue #10 The Glenunga Dispatch 26/05/21

SO]Nite
RAINBOW

As part of this year’s Pride Month celebrations, the Arts Captains and Glenunga’s Queer Club
bring you Sonic Rainbow, an upcoming music event this term. Expect all the usual, outstanding
talent of Infinite Echo, but with the recurring themes of queer pride and love throughout all
the performances. This event, while all about celebrating Glenunga’s LGBT+ community, is not
exclusive to queer-identifying students, and allies are encouraged to come along to have fun
and show their support. Profits from food, drink and ticket sales will go towards Black Rainbow,
an organisation committed to investing in the futures of Indigenous LGBT+ youth.

Keen to perform? An audition form will be sent out soon, so keep an eye on your emails.

Page 17

Issue #10

The Glenunga Dispatch

4
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26/05/21

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In the past decade, the Marvel Cinematic
Universe (MCU) has redefined the movie
franchise scene in the film industry. ‘The
franchise’s 23 films have grossed more
than $17 billion USD ($19 billion AUD)
- more than any movie franchise in history.
With each dedicated film averaging an
impressive 84% on Rotten Tomatoes and 8
of the 25 highest grossing films of all time
being part of the MCU. Avengers: Endgame
(2019), is now the highest grossing movie
of all time grossing a whopping $2.8 billion
USD ($3.6 billion AUD). Achieving such
a successful franchise is far more difficult
than it sounds. The success of one movie
usually does not indicate that the sequel or
the franchise will be successful as well. “It’s
quite a risk taking process”, John Favreau,
director of Iron Man 1 & 2 said. So how

does Marvel make it look so easy?

The Corporate Story

The narrative of the Marvel Cinematic
Universe is heavily based on the Marvel
Comics Group - founded in 1939 by Martin
Goodman, an American publisher of
magazines and paperback books. In order
to capitalize on the growing popularity
of comics - especially superhero based
comics Goodmancreated Timely Comics,
which later became Atlas Comics, and later
became the known Marvel Comics Group.
The company had its ups and downs until
the 60s when Goodman-hired writers Stan
Lee and Jack Kirby, who created iconic
superheroes still popular till this date,
such as Iron Man, Spiderman, ‘Thor, ‘The X

Men, Black Panther and more. For multiple

Page 18

4 y
decades Marvel Comics and it’s rival DC
Comics ushered through to the comic book
industry. Throughout the 90s however
the company’s management took a turn
by turning into a publicly held company
in 1991. When the comic industry had a
slump in sales, causing them to eventually
sell the company to the Walt Disney
Company.

Rise to Fame

At the beginning of the 21st century
Marvel’s profits were mainly derived from
toys, video games, and other merchandise
featuring popular characters from the
comics. With companies such as Fox,
Universal and Warner Brothers having
success by translating popular comics to
the big screen. Marvel’s ambitious goal was
to release a set of films featuring a wide
range of characters all part connected in
a single shared world. ‘The journey started
with Marvel’s Phase 1 releasing Iron Man
(2008), The Incredible Hulk (2008), Iron Man
2 (2010), Thor (2011), Captain America:
The First Avenger (2011) and Marvel’s The
Avengers, a film featuring Iron Man, ‘Thor,
Captain America and The Hulk. With the
film grossing over $1.5 Billion USD ($1.94
Billion AUD) worldwide, the MCU was
born - soon to become one of the most

lucrative franchises in history.

Marvel continued on to produce films
which included sequels to the old films, and
introduction to new characters such as The
Guardians of the Galaxy, and Ant-Man and

a wave of television programs which were

) ly ry emi e ane * ih. ty

a
not part of the MCU cannon. Black Panther
(2018) was a big step for Marvel as it was
the first film to win an Academy Award:
receiving an Oscar for original score,
costume design and production design.
Changing the norm of the MCU, from
being “kid’s movies” to critically acclaimed

movies.

The Future
With a

COVID-19, and the death of Chadwick
Boseman (T’Challa/Black Panther) Marvel

has recovered from the unfortunate damage

significant setback during

and is moving on to create more projects.
With its new partnership with Disney+, an
online streaming site, Marvel is releasing
TV shows featuring characters which
have been introduced in past films. A wide
range of movies are also being released to
expand the narrative of the films. It is only
exciting to see what the future has in store

for Marvel.

Regarding the secret of such success Kevin
Fiege- head of Marvel Studios offered a
quite simple explanation in an interview
with Variety: “I’ve always believed in
expanding the definition of what a Marvel
Studios movie could be. We try to keep
audiences coming back in greater numbers
by doing the unexpected and not simply
following a pattern or a mold or a formula”.
Therefore, the secret seems to be finding a
good mix of innovation in film, retaining
enough continuity to make all characters

part of a family.

Minari -

A Family’s
Assimilation

By Zac Briffa

The key in Lee Isaac Chung’s Minari lies
in the scene between Grandma Yi and
youngest child David Yi at a creek nearby
their homestead. Grandma is joyous over
the growth of the Korean weed minari
she previously sowed the seeds for, and
explains to David the wonder of minari;
their ability to grow anywhere. As well as
recognising the resilience of the Yi family
in their similarity to minari, this scene
highlights a crossroads for young David, a
first generation American, who until now
had been neglecting his Grandma for not
fitting his Americanized lens of what a
grandmother should be. David’s reckoning
with cultural assimilation is at the forefront

of Chung’s warm and realised work.

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Minari follows the Yi family, made of
father Jacob (Steven Yeun), mother Monica
(Han Yeri), eldest child Anne (Noel Kate
Cho) and the aforementioned David (Alan
Kim) and Grandma (Youn Yuh-jung) as
they move their lives to rural Arkansas
in the 1980s, with the adults struggling
to adjust to American life. ‘This telling of
immigration feels so fresh and intimate that
it may very well be biographical for director
Chung, who himself was a first generation
American raised around farms. This
intimacy is created through the delicacy
with which Chung treats his subject. He,
with great assistance from his Director of
Photography Lachlan Milne and composer
Emile Mosseri, exposes us to an auditorium
of sensory pleasures that evoke a dreamlike

haziness. Chung creates such an embracing

atmosphere that narrative lucidity doesn't

dominate, insteading heeding the way for
the swelling scores that synergise with
sweeping landscapes and everlasting skies.
Light scintillates with such a warmth
it almost becomes daunting, perfectly
engulfing the family’s individual fears and
aspirations taking on the American Dream;
naivety (the children), haze (the parents)

and sleepiness (the grandmother).

This ideology of American Dream is not
battled with nor embraced, rather looked
at from a powerfully neutral perspective,
highlighting the gains and losses that come
from it. However, it is abundantly clear that

whatever construct of an American Dream

the Yi's possess is entirely through their own
doing. Jacob is hellbent on creating a farm
to better life for his family, but clashes with
Monica who fears he has ultimately drifted
further away from those closest to him
through this pursuit. It is by tackling both
the monetary and personal halves of the
American Dream that we come back to the
assimilation that David is confronted with,
as shared not identically but thematically
with the rest of his family. David and his
sister have strong American accents, they
drink Mountain Dew and watch wrestling
on television. Contrastingly, their parents,
despite living in America for a number
of years, barely speak the language. ‘Their
children converse with them bilingually yet

there is barely a moment the parents utter
a word of English to their children. ‘There
doesnt need to be, as is the case with any
immigration, but it’s the more nuanced
developments such as Jacob’s relationship
with his exuberant Pentecostal neighbour
(Will Patton) that suggest that much like
the minari theyre growing, the Yi family

are making a home for themselves.

Issue #10

The Glenunga Dispatch

A Fier

26/05/21

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Hoag 2

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Over

srael

by Amin Slee

In May 2021,

organisation Hamas fired multiple rockets

Palastinian terrorist
at the coastal city of Tel-Aviv in the Middle
Eastern country of Israel. Video footage
showed rockets flaring up in the sky and
exploding on random buildings with
innocent civilians scrambling for safety.
This attack marked a climactic restart to
one of the world’s most controversial and
costly conflicts as the debates between Israel
and Palestine continue both domestically,

abroad and on social media.

Recent attacks in the last few months
were interpreted as retaliation for the
deadly government crackdown on political

dissent, and the brutal takeover of the Al-

Aqsa mosque in Jerusalem that injured
dozens of Palestinians and at least 6
Israeli policemen. The State of Israel has
gained mass condemnation from both
foreign governments and the international
community for its human rights abuses
against civilians. An abundance of activists
around the globe and on the internet have
spread their message of so-called ‘Israeli
Apartheid’ while comparing modern Israel

to the Apartheid era in South Africa.

However, many questions still remain. Will
this lead to another war? Will this seal the
fate of Israel? Will this be a new beginning

for Israel and its citizens?

Page 21

Issue #10

x

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N

How can a show that covers
the Modern Day Mafia, a
{0s Esque Lemur Heist & a
Lord of The Rings Fantasy
Setting, among other things,
exist? Well, It’s About an
Experimental Drug Trial, of
course.

by Max Lock

The Glenunga Dispatch

If that synopsis of the show that this article
will cover doesn't draw you in, then clearly
you ll be skipping over it. However, if it did,
then please allow me to introduce the 2018
Netflix original show Maniac. This limited
series, comprising of ten episodes of dras-
tically varying lengths, stars Emma Stone
& Jonah Hill among many other actors
that portray the roles of their characters in
such a way that conveys every emotional
beat that the showrunners wish to convey.
However, the cast is not what truly stands
out with this show; rather, it represents the
transition our storytelling industry has be-
gun to undertake into a majorly film based
scene, with a larger focus on production

quality rather than sheer quantity.

Of course, shows in the past few decades
have consistently demonstrated an upward
curve in the amount of time and effort
placed into their visual and storytelling as-
pects, Netflix being at the forefront of this
revolution (although in some cases this may
not be necessarily the best thing), and I be-
lieve that Maniac is a prime example of this.
With this in mind, let’s take a look at the

show.

26/05/21

sIhe general plot of this show is one
mentioned prior; in a retrofuturistic world,
dripping with advertising and with a lack
of human interaction, two average citizens
Annie Landsberg and Owen Milerim,
both of whom have experienced some form
of trauma, the latter having Schizophrenia,
highly

experimental drug trial that is meant to

submit themselves into a
cure all forms of mental illness by entering
three stages of personalised experiences.
These are induced by three pills, A, B &
C, which each take the form of a different
stage of the overcoming of grief, with
C-Confrontation, being the setting for the
series finale. But by some freak accident,
the two protagonists mentioned prior’s
wires have somehow crossed, and from the
very beginning they have begun to appear
in one another’s visions. The dreamscape
hallucinations each character experiences
are personalised to suit their problems,
providing the settings for each unexpected

concept the show manages to include.

Issue #10

The Glenunga Dispatch

26/05/21

;

One of the many reasons this show is so
potent, and so symbolic of the quickly
transitioning industry, is its subtle yet
ever-present references and secrets only
achievable in a medium such as this. From
the broader themes such as the significance
of Don Quixote and Bonsai ‘Trees to
recurring characters from the real world
that have manifested themselves in the
visions the characters experience, bringing
to mind popular films and movies similar
to this such as The Truman Show and
Wandavision, both are creations of which I
would recommend to anyone who enjoyed

this one.

This story, written in such a way that it
can be interpreted in multiple, conveys
feelings of grief and disbelief in our reality
in a tangible style that genuinely makes you
believe that there may be something the
show is concealing from you. It possesses
much of the mystery of shows such as
Wandavision, but rather than having a stark
contrast from one episode in which you
have no clue what is going on, and the next
when all has been revealed, the show allows

you to slowly pick up the mysteries without

giving it to you straight up. Thus, when you

discover something especially secretive, the
satisfaction is unrivaled, and once again we
see the power that such a medium can be

manipulated into possessing.

All of the elements which I have discussed
provide valid points for the argument that
Film & TV have reached a peak unrivalled
by novels (although this form of storytelling
most definitely still has its place; as a book
hoarder I will never deny this), but I have
not mentioned the one that is most likely
the most obvious: The atmosphere the

show creates.

Of course, there is a certain charm to the
ability to allow oneself to lose all perception
of time when entering the rich description
of a novel; but when another medium
presents an offer to be enthralled in the
world created by film and media, then a
choice can be made. Maniac presents some
of the best set & costume design boasted by
Netflix’s budget that I have seen, with the
wet, decrepit world Annie & Owen inhabit
being sumptuous in the way that each dirty

corner, each advertisement, each person's

outfit oozes with the rich, undeniable
character of the world they inhabit. This is
true for any of these possible worlds, with
the 1920s seance being populated with
immaculate furs and lint-free blazers while
the halls of NATO are filled with coats
and miniskirts and imposing guards. It is
difficult to describe how real each reality
created feels, and for this reason I implore

you to watch the show yourself.

On that note, I conclude this article by
once again encouraging you to go check
out the show (although there is a content
warning for extreme violence, course
language, sexual references & and a trigger
warning for self-harm) as it, mentioned
prior, beautifully highlights the new age of
storytelling. If for no other reason, however,
then watch it for the beautiful set and
costume design, as that is originally what

drew me into the show.

Page 23

Issue #10

The Glenunga Dispatch

26/05/21

was sitting with my family friends and
I my sister brought up the “Black Fungus’
crisis in India (which is also experiencing
a terrifying COVID crisis). The Black
Fungus article I chose to look at oddly
ended with “: Goat” so I was immediately
compelled. I was click baited, in reality,
however I wasn't disappointed. There was
an entire paragraph that begged people to
“stop rubbing cow dung and piss on your
bodies to stop the spread of COVID”. I
remember it being one of the few things

that had made me laugh in weeks.

India is truly suffering right now and you

can blame the terrible leadership, and

Page 24

Ary
UUW

by Vidhi Vira

I’m in no way excusing the garbage that
is Indian politics, however it’s hard to
stop the spread of COVID in a country
with fifty-four times the population of
Australia and a third of the space. Sure, the
leadership isn't great but the people aren't
any better (and I can say this because I am
Indian).’To put into context, if ten percent
of Australia decided to be goofballs during
the COVID mini-crisis that’s around two
and half million people. If ten percent of
India decided to do the same that’s around

one hundred and thirty million people.

We've all lost people this year but what

hurts is being unable to say good bye, having

THREAT LEVEL

a respectful funeral and seeing everyone
around you hurt and be stuck. One of my
family friends lost his grandad and _ his
grandfather's last words to his father were
“why aren't you here? Why didn't you come
at the end? Why did you leave me alone?”
because he didnt understand or know
about the travel ban. We're all suffering and
we cant do anything. We're all helpless.

So, I hope that everyone can support their
brown friends this year, Indian, Bangladeshi,
Sri Lankan, Pakistani. Be there for them

and be there for each other.

Issue #10 The Glenunga Dispatch 26/05/21
ee

grow.

the other day i sat in the garden

thought id do some homework there.

then i spotted him

a little weed

growing not two centimetres away from my big toe
stretching long like the expectations of my young soul
yet looking as limp as the cup noodles i can afford

the weight of a dying world on his little weed shoulders.
i tried to rip him up, he grew again

and again

and again.

i decided

maybe the world isn't so bad

because we can grow back

the ground heals

just like our sores scab over and pinken

the healing just looks a little different;

like a weed, growing when you try to cut him down.

-Edmund Arson

Page 25

Issue #10 The Glenunga Dispatch 26/05/21

Hiraeth (Cn. )

Looking through the dictionary, I found this word-
A word that struck me too hard.

A word that describes my longing

My longing for a home so peaceful and so sound

Without all the theatrics of now.

They had told me to pick a side,
But that’s something I can rarely ever do.
I was too naive, I guess,

To realise they were always going to leave.

Whether I decided or not.

They didn’t even glance back, not once.
But I could hear them well

The wind, it carries their words

I look back though.

I look back at the photos

Because they never change.

Even if we did.

So I stared at the word
Like it didn’t exist.
My feelings seemed like a myth.

A word that described my longing for a home.

A home woven with the threads of my imagination.
The fabric soft and breathable.
Hiraeth is what I feel.

-Rishvaa

Issue #10

The Glenunga Dispatch

26/05/21

The Glenunga
Dispatch

Editor-in-Chief
Amir Alikhani

Lead Designer
Hayden Chan

Publisher
Luke Reichstein

Copy Editor
Charlie Stamatogiannis

Associate Editors
Isaac Jacobs
Kira Loh

Managing Editor
Isaac Sibley

Section Editors

Arts & Culture
Akshara Radhakrishnan

Film & Media
Isabelle Kameron

Music
Zee Islam

Politics
Arth Tiwari

science & Technology
Ray Okamoto

Sports
Shawn Mbewe

Student Life
Priya Garikipaty

Contributors

Alex Brown

Alfonso Lafosse

Amin Slee

Anton lvanov

Chetan Changalasetty
Max Lock

Rishvaa Tyagi

Vidhi Vira

Zac Briffa

Page 27

Putting an emphasis on student voice and student life.